301 The Awakening
by Counteragent
Summary: It starts at the end of the season 2 finale. Sydney wakes up in Hong Kong. The last thing she remembers is having a fight with a woman doubling her best friend. And that was two years ago. Now, the quest for the missing time begins...


3.01 The Awakening

**_ACT I: Hong Kong_**

_Sydney wakes up in the streets of Hong Kong, we see the last bit of the 2nd season finale._

**VAUGHN:** Syd... since that night... you were missing. You've been missing for almost two years.

**SYDNEY:** What?

**VAUGHN:** We looked for you, we…

_But his voice trails off. He doesn't know where to start. Sydney just sits there, shocked. Two years, how can that be? She looks at Vaughn, who is desperately searching for something to say._

**VAUGHN:** We tried Sydney.

**SYDNEY:** No, no... no...

**VAUGHN:** Sydney...

_Sydney stands up and blasts her way out of the room._

**VAUGHN:** Sydney!

_On her way out, she beats two guards who try to stop her. Back in the room, Vaughn, disappointed, sits on the bed._

_Sydney wanders outside in the streets of Hong Kong, trying to remember anything of what happened in her two years absence. Suddenly, a gunshot sounds behind her. Sydney turns her head. Everyone around her runs in every direction and screams._

_A man is shooting at every direction. He has blonde short hair and is wearing a pair of black glasses with an impeccable gray suit, and there is a submachine gun in his hand. Even at the distance Sydney can recognize him: It is Sark._

_Sark approaches her, and Sydney tries to run, but Sark shoots her with a tranquillizer._

**SARK:** It's okay Syd, you're in good hands now.

_Sydney collapses onto the ground, and Sark takes out a cell phone from his pocket and dials a number._

**SARK:** Sir, we've got her.

**VOICE:** Fine, bring her here.

**SARK:** Yes, sir.

_Sark hangs up his phone as a truck stops in front of them. Two men get out of the truck and carry Sydney inside._

_Sark gets into the truck, and the truck leaves. In the street, people are still running and screaming; no one seems to have noticed the abduction._

_An hour later..._

_Sydney wakes up inside the truck. Sark is besides her._

**SARK:** Don't worry, Syd, your mom is anxious to see you again.

**SYDNEY:** Wh…?

**SARK:** You'll get answers when the time comes.

_Sydney closes her eyes. Sark watches her for a few seconds and then turns around. Sydney suddenly opens her eyes and stands up, and Sark starts to turn back around, but it's too late. Sydney is all over him and starts fighting. She takes Sark's gun and points it at him._

**SYDNEY:** Let me out.

_Sark doesn't move at all._

**SYDNEY:** LET ME OUT!

_The truck driver turns to Sark, who nods, and the truck stops. The driver gets out of the truck and opens the back side. Sydney gets out with the gun in her hand. She stares at them for a few seconds, then she starts running. She's still in the middle of Hong Kong. Suddenly, a black car stops in front of her, blocking her way. The car window opens. It's Vaughn._

**VAUGHN:** Get in.

_Sydney gets in the car, and the car speeds away._

OPENING CREDITS

**_ACT II: Questions and Answers._**

_Sydney is in the back seat of a car. Vaughn looks through the rear-view mirror from the driver's seat. Sydney is avoiding his gaze._

**VAUGHN:** I know how you feel.

**SYDNEY:** No, you don't. You have no idea what it's like to wake up on the streets and find out that the last thing you remember happened two years ago.

**VAUGHN:** Syd…

**SYDNEY:** No, don't patronize. You tell me right now. What happened?

**VAUGHN:** You'll get answers when you get to L. A.

**SYDNEY:** NO! I deserve to know what happened to me. I've already waited too long to hear it! I don't have time for this. If you don't tell me now, I'm getting out of this car.

**VAUGHN:** Syd, I'm not authorized to…

**SYDNEY:** TO HELL THAT! WHAT THE HECK HAPPENED TO ME?

_Vaughn looks at Sydney through the mirror. So what if the CIA found out if he had talked to her? She would find out anyway. She would learn about the failure the CIA has been since she left._

**VAUGHN:** Alright, what do you want to know?

**SYDNEY:** Where are Will and Francie?

**VAUGHN:** Will is alright. He's still working for the CIA undercover at the travel magazine. He was badly hurt when we found him, but he recovered a few weeks later.

**SYDNEY:** And Francie?

**VAUGHN:** We discovered her body buried below Emily's grave. But we found Allison.

**SYDNEY:** Is she alive?

**VAUGHN:** Yes. We found her three months after that night, but she got away.

**SYDNEY:** So now you don't know where she is.

**VAUGHN:** No, we don't.

**SYDNEY:** How did Sark escape from the CIA?

**VAUGHN:** How did you know he escaped?

**SYDNEY:** Because before you came for me, he tried to abduct me.

**VAUGHN:** What? Wh….?

**SYDNEY:** I'll tell you later. How did Sark escape from the CIA?

**VAUGHN:** I told you we found Allison three months later after you disappeared, well, in fact, she turned herself in to the CIA, but she only used us to get Sark out of there. Tonight is the first time we've heard of him in months.

_So Sark and Allison are alive, and their location is unknown… what did the CIA do during those two years?_

**SYDNEY:** And Sloane?

**VAUGHN:** He and your mother fled from Mexico City, and we haven't known anything of them since last year, although we think they operate there.

**SYDNEY:** In Mexico?

**VAUGHN:** Yep.

**SYDNEY:** Sark said he was going to take me to my mother.

**VAUGHN:** He probably would have, and that wouldn't have been good.

**SYDNEY:** She wouldn't hurt me.

_Vaughn turns to stare incredulously at Sydney._

**VAUGHN:** How can you say that?

**SYDNEY:** I don't know, it's about something she said about being loyal to dad and me but not to the CIA.

**VAUGHN:** When did she tell you that?

**SYDNEY:** When she sent us to Zurich two years ago to get a waffler and a broken CD player. Remember that?

**VAUGHN:** Oh yeah.

_Both of them stay quiet for a while. For a minute, it seems as though time passage hasn't happened at all; it's as though they are still in Sweden, two years before, in a club talking about their vacation in Santa Barbara._

_A car turns right in front of them, and Vaughn is forced to make a sudden turn of the wheel. Sydney catches sight of something shining on Vaughn's hand; it's a ring. She is suddenly brought back to reality: Vaughn is married now._

**SYDNEY:** So, who did you marry?

**VAUGHN:** Hmm?

**SYDNEY:** You heard me.

**VAUGHN:** Her name is Lauren Reed.

**SYDNEY:** Tell me about her.

**VAUGHN:** She's a CIA field agent. We met in an operation in Vancouver, then we started dating about a year ago, but not before I made sure I had done everything in my power to find you. Six months ago we got married. Here we are.

**SYDNEY:** Where?

**VAUGHN:** The airport.

_Cut to inside the plane, where Sydney's head is resting on the window. She's getting sleepy._

**SYDNEY:** You could have waited for me. I know I would've.

**VAUGHN:** I _did_ wait, I waited for a long time. I married her barely six months ago.

**SYDNEY:** I would've waited six months more.

**VAUGHN:** I had to move on, Sydney.

**SYDNEY:** quietly choking back tearsI know, it just hurts.

**VAUGHN:** I'm sorry.

**SYDNEY:** I know you are.

_Sydney closes her eyes and falls asleep. Vaughn falls asleep, too. He begins to dream…_

_He's in a church getting married. Lauren is next to him._

**PRIEST:** Do you accept Lauren Reed as your wife?

**VAUGHN:** Yes I d-

**PRIEST:** You could have waited for me. I know I would've.

_Vaughn looks at the priest, but there is no priest, it's Sydney._

_He wakes up, and Sydney is still asleep. Vaughn tries to stay awake the rest of the trip._

COMMERCIAL BREAK

_**ACT III: The First Mission**_

_Sydney walks into the Operations Center, US Joint Task Force Intelligence, along with Vaughn. She looks around; only a few things have changed. Marshall and Weiss are talking at a desk. Both look up and stare at them. Sydney avoids their look.__  
__They pass Dixon, who also looks at her. He smiles. Sydney smiles back._

**VAUGHN:** You have an appointment with Barnett.

**SYDNEY:** I want to see my dad.

**VAUGHN:** We'll talk after you are out.

**SYDNEY:** Why? Where is my father?

_Vaughn remains quiet._

**SYDNEY:** Vaughn?

**VAUGHN:** Syd…

**SYDNEY:** No, I'm not going in until…

**VAUGHN:** Please try to understand…

**SYDNEY:** Not until…

**VAUGHN:** Sydney, please…

**SYDNEY:** WHERE IS HE?

**VAUGHN:** In Pisa!

**SYDNEY:** What!

**VAUGHN:** After you disappeared, he was the only one convinced of your existence, so he got permission to go under a protection program and built an op center in Pisa, where he's trying to find you and your mother.

**SYDNEY:** Does he know…?

**VAUGHN:** Right after you called us from Hong Kong, we contacted him; he's on his way here. Now you go with Barnett.

_Sydney walks to Barnett's office, while Weiss approaches Vaughn._

**WEISS:** We did it. We finally have a lead on Sloane.

**VAUGHN:** What?

**WEISS:** We've got a picture from a satellite of Sark and Sloane.

**VAUGHN:** Where?

**WEISS:** In Mexico City.

_Sydney seems to have read Weiss lips, before they noticed her, she walks inside Barnett's office. _

_Cut to Sydney sitting in Barnett's office._

**BARNETT:** I'm sure you must have a lot of questions.

_Sydney doesn't answer; she stares at the floor. Of course she has questions, lots of them, but she remains quiet._

**BARNETT:** Or did Agent Vaughn answer all of them for you?

_Sydney lifts her gaze. Obviously the CIA wouldn't want Vaughn telling her that the CIA has been totally useless since her disappearance._

**SYDNEY:** Agent Vaughn doesn't have the answers to the most important question I have: What happened? I mean, not here, in L.A. or at the CIA, but with me. What did I do all this time? Obviously I didn't sleep in a street in China for two years. What happened to me?

**BARNETT:** You know we don't have those answers. Not me, not Agent Vaughn, or anyone else here.

**SYDNEY:** I know, that's why I want a hypnotic session.

**BARNETT:** I'll see what I can do about that. But in the mean time, I want you to tell me how do you feel.

**SYDNEY:** What do you mean?

**BARNETT:** Things have changed. Your father is not here anymore, and the man you used to love is no longer yours.

_Sydney stands up._

**SYDNEY:** I'm not here to discuss my love life, present or past. I'm here to find out why I've been missing, and if you can't answer that, I have no other business here.

_Sydney leaves Barnett's office. Back at the Ops Center, Vaughn passes her in the hall._

**VAUGHN:** You're already out? I thought it would take longer.

**SYDNEY:** I'm out. Why?

**VAUGHN:** Kendall's having a meeting right now. But I don't think you can come.

**SYDNEY:** Oh. Okay, no problem.

_Vaughn walks into the debriefing room. Kendall, Marshall, Dixon and Weiss are there. Vaughn takes a seat._

**KENDALL:** Now that agent Vaughn has granted us the favor of _coming_, we can start the meeting.

_Vaughn looks at Kendall, who seems to dislike the idea of Vaughn telling Sydney about the meeting, although Vaughn can't seem to figure out how Kendall found out._

**DIXON:** What's this meeting about?

**WEISS:** We've found Sloane. He's in Mexico City.

**VAUGHN:** Remember the music box you and Sydney got from Siberia? Well, Sloane fixed it.

**DIXON:** How?

**VAUGHN:** We don't know how he did it, but what we do know is its location.

**KENDALL:** The National Arts Center in Mexico.

**WEISS:** The box is being kept in the Superior Music School inside the NAC.

**KENDALL:** Agent Dixon, you're going to Mexico to retrieve the music box before they decipher the code.

**WEISS:** Assuming they haven't already done that.

**KENDALL:** Marshall will give you the op tech.

_Once everyone is out, Dixon, Weiss and Marshall walk over to Sydney._

**WEISS:** Welcome back, I always knew you would come back.

**SYDNEY:** Weiss! Hi.

_She hugs Weiss, then she looks at Dixon._

**DIXON:** You just keep surprising me.

_Dixon and Sydney hug. Sydney can't seem to stop smiling, then she turns at Marshall._

**SYDNEY:** Marshall!

**MARSHALL:** I'm glad you're back. I really missed you. Oh yeah, I got this for you.

_Marshall hands Sydney a small wrapped box. _

**SYDNEY:** Marshall! Thank you!

**MARSHALL:** Welcome back.

_Sydney hugs Marshall. She's happy. She's home__  
__Sydney sees Vaughn talking to Kendall, and she waits until Kendall leaves. She then motions for Vaughn to follow her to a corner of the office._

_They speak in low voices._

**SYDNEY:** I heard Weiss saying you found Sloane in Mexico.

**VAUGHN:** We didn't, we only tracked one of Rambaldi's artifacts Sloane possesses.

_Sydney interrogates Vaughn with her look._

**VAUGHN:** The music box. We think he fixed it, and we're bringing it here.

**SYDNEY:** I want to go to Mexico

**VAUGHN:** What? No way.

**SYDNEY:** Listen to me, for the first time in months, the CIA has information about Sloane's whereabouts, and he's the man responsible for my disappearance. I'm going after him.

**VAUGHN:** Absolutely not. Plus, is not as if we've found Sloane, and if Kendall finds out-

**SYDNEY:** He doesn't have to know. You can tell Marshall and Dixon I'm going, just make sure Kendall doesn't hear you.

**VAUGHN:** He'll know anyway.

**SYDNEY:** When he does, I'll already be in Mexico, and there will be nothing he could do about it.

_Vaughn hesitates._

**VAUGHN:** Good luck.

_Sydney returns to Marshall, Dixon and Weiss._

MEXI**C**O CITY

_Panoramic shoot of the National Arts Center. Sydney is at the entrance of the Superior Music School at the NAC. She has brown long hair, blue jeans, and a brown jacket. She's carrying a fiberglass contrabass case._

**FLASHBACK TO MARSHALL GADGETS**

**MARSHALL:** Well, hi, and welcome back, we really missed you here. Mmmmm ah yes, well, for your first mission, I tried to do my best, although, it's not actually your first mission, you know, from before you… disappeared.

_He shuts up. He realizes he's losing track of his words._

**MARSHALL:** Oh yeah, the box is in a vault in a room at the end of a long corridor on the third floor, and so of course, that's where you're going.

_He pulls the contrabass case._

**MARSHALL:** Now, this looks like a normal fiberglass contrabass case, but inside…

_He opens it._

**MARSHALL:** Voilà! Connect this discrambler to the vault to open it. And, I also included extra space inside where you can put the box.

**BACK IN MEXICO CITY**

_Sydney is walking down a corridor with blue doors everywhere; she reaches the end of the corridor and forces the correct door open._

_Once inside, she founds the vault behind a wooden square on the wall, she opens the contrabass case and connects the discrambler to the vault. The combination on the digital screen reads "00047." The vault opens, and a thick blue dust comes out of the vault. Sydney coughs and waves her hand to dispel the dust. She looks inside the vault… which is empty._

**SYDNEY:** Dixon, there's nothing here.

COMMERCIAL BREAK

_**ACT IV: Rescue**_

_Vaughn and Kendall are in JTF. They're following Sydney from an infrared equipped satellite. Kendall looks obviously upset about Sydney being in the mission, but there's nothing he can do about it.__  
__Cut to Sydney in NAC_

**DIXON:** voiceover Vaughn has made contact.

**VAUGHN:** voiceover We are following you from the satellite back in L.A. , we can see you, and we see the box.

**SYDNEY:** It's not here. I don't see it.

**VAUGHN:** voiceover That's because it's two floors below, inside an office.

**SYDNEY:** Wait, there's something here: it's a key.

_Sydney picks up the key._

**VAUGHN:** voiceover Take it with you.

_Sydney closes the vault, picks up the case, and leaves. She goes downstairs towards the offices._

_Sydney is on the first floor. She walks into the offices and sees a closed wooden door. She tries to walk in._

**VOICE:** Disculpe, no puede entrar, el director está ocupado.  
(_Excuse me, you can't enter, the principal is busy._)

_Sydney turns around to see a man at his desk near the door._

**SYDNEY:** Soy Alejandra Álvarez, estudiante de contrabajo. El director me citó para discutir una beca.  
(_I am Alejandra Álvarez, contrabass student. The principal called me to discuss a scholarship._)

**MAN:** Está bien, pase.  
(_Okay, come in._)

_The man stands up and opens the door, then steps aside to let Sydney in. Sydney walks into the principal's office as the man closes the door. The principal raises his eyes.__  
__Sydney gets near the desk, and suddenly, the "principal" points a gun at her face._

**PRINCIPAL:** Didn't you think we would take our precautions when we got the box here?

_Sydney realizes that the principal is working for Sloane babysitting the box. Sydney pauses, then she kicks the gun out of the principal's hand. Then she takes a spray out her jacket and sprays him, knocking him out._

_Sydney goes to the drawers in the desk. She opens each one. The last one is locked. She uses the key and gets the music box, then she puts it in the contrabass case and walks out._

**SYDNEY:** ¡Algo le ha pasado al director¡Creo que le ha dado un infarto!  
(_Something is wrong with the principal! I believe he's had a heart attack!_)

_The man from outside walks into the office, when he turns around, Sydney is gone.__  
__Sydney is running through a yard outside the school._

**SYDNEY:** Dixon, I have the box. Are you at the extraction point?

**DIXON:** voiceover Yes.

_Sydney reaches the parking lot and keeps running. A black van comes from the sublevels. The van stops in front of her, and Dixon rolls the window down._

**DIXON:** Get in.

_Sydney gets in, and the van leaves._

_Back in L.A., Sydney gets home and sees a banner with the words "WELCOME HOME" on it. And many balloons on the walls.__  
__Will is there._

**WILL:** Sorry I couldn't bring more people.

**SYDNEY:** Will!

_They both hug and cry._

**WILL:** I missed you so much.

**SYDNEY:** I'm so sorry. I should've realized that Francie was the double. I'm so sorry.

**WILL:** It's all right. No one realized until it was too late. It's not your fault. I'm okay now.

_They hug again. Sydney looks around, all the furniture is different._

**SYDNEY:** What happened to this place?

**WILL:** Your father bought the house after you disappeared. He did some repair work, you know, because, it was all trashed after the fire, and he was convinced you were alive.

**SYDNEY:** So tell me, what's been of you?

**WILL:** I'm a field agent.

**SYDNEY:** A field agent! But Vaughn said…

**WILL:** Well, I asked him to keep it a surprise…

**SYDNEY:** I never wanted this life for you.

**WILL:** That doesn't matter, Syd. The only thing that matters, is that you're back.

_Sydney looks at Will, her eyes are full of tears. Sydney smiles, then they hug.__  
__Back at the Operations Center, Weiss walks over to Vaughn._

**WEISS:** The music box isn't fixed.

**VAUGHN:** What?

**WEISS:** The box that took us all this time to get is still ruined. We were set up.

**VAUGHN:** But why? That doesn't make any sense.

**WEISS:** I have no idea.

_Back at home, Sydney and Will at the front door, Sydney kisses Will in the cheek and Will leaves. Sydney closes the door and takes a deep breath, she's smiling.__  
__Cut to Sydney in her bedroom, she's wearing sleepwear and is getting to bed. She begins to dream…_

_She's at a bar wearing the suit she was wearing the night she disappeared. Sark is fighting with her.__  
__Sark takes a knife out of his pocket._

**SARK:** Your mother will be so pleased.

_He lunges at Sydney and stabs her in the stomach._

_Sydney wakes up with a start. She's sweating and panting heavily, but she's safe at home. She relaxes, trying to calm her self, resting her hand on her abdomen. And suddenly, she remembers: she has a scar on her stomach.__  
__Cut to Sydney in JTF quickly walking to Barnett's office. Sydney gets inside._

**SYDNEY:** I need to talk to you.

**BARNETT:** OK, so why don't you sit down?

_Sydney takes seat in front of Barnett._

**SYDNEY:** There's this bar in France… Dijon. Sloane sent me there back at SD-6. Last night I had a dream. I was in that bar, Sark was there, we were fighting; he hurt me with a knife in my stomach.

**BARNETT:** Maybe, it was only a dream.

**SYDNEY:** When I was in Hong Kong, I realized I have a scar in my stomach I didn't have two years ago. I know I was in France at some point in the past two years.

**BARNETT:** Do you remember why Sloane sent you to Dijon.?

**SYDNEY:** I was supposed to get him a package, I never knew what was inside.

**BARNETT:** Sydney, I don't know if jumping to conclusions based on a dream you had about a place you've already been to is a good idea.  
Look, I know you are mad, and I know you feel confused, that's why I arranged an appointment with Dr. Kerr, I assume you remember her. You are having an hypnotic regression with her and you will get the answers you are looking for. In the mean time, I suggest you to relax and not to pay attention to any dream you have, dreams like this are normal after a traumatic event, and you just came back.

_Sydney nods and walks out of Barnett's office, Vaughn comes to her._

**VAUGHN:** Sydney, I've been trying to contact you. Kendall found out about Mexico.

**SYDNEY:** I wasn't expecting him not to find out.

**VAUGHN:** He's really mad at you, I don't think he will let you be here anymore.

**SYDNEY:** I promise I will talk to him and explain everything, but right now, I need you to cover me, he can't know I'm leaving the country, neither Barnett can. I'm going to France.

D**I**JON

_Sydney walks into the a bar. She's wearing a long intense red wig, black jeans and a lime green t-shirt. She walks towards the bartender_

**SYDNEY:** Un vodka.  
(_A vodka_)

_The bartender gets her the vodka, Sydney starts drinking, when she hears a voice behind her._

**VOICE:** Je savais que tu venrais ici.  
(_I knew you'll come._)

_Sydney turns around, It's Allison. She still looks like her best friend: Francie Calfo._

**SYDNEY:** Allison.

**ALLISON:** Having bad dreams Syd? Trying to find out about that scar you got?

_Sydney doesn't answer._

**ALLISON:** Well, let me tell you, you wont find what you're looking for here. Have you seen a radiography of yourself lately? Maybe that would explain things.

_Sydney tries to say something but Allison keeps talking._

**ALLISON:** Well, that wont happen anytime soon. Your mom wants to see you. So does Sloane. They are both so anxious to see your face again, after all this time.

_As she talks, Sydney walks closer and closer to the bar._

**SYDNEY:** If you think I will let you take me just like that…

_Allison takes out a machine gun hidden below one of the tables, Sydney jumps behind the bar as Allison starts shooting, everyone in the bar runs to the bar exit, yelling. In the confusion, Sydney crawls to one side of the bar and sees a knife, she takes it and throws it at Allison, who shots at it. Sydney jumps from the bar and kicks Allison in the stomach, then kicks the gun out of her hand, which falls away from them. Allison kicks Sydney and throws her to a table nearby, Sydney falls smashing the table, Allison gets her gun from the floor and starts shooting at the bar windows, while Sydney goes behind another table, Allison turns at her, they both are now face to face, with the table in between, suddenly, Sydney kicks the table throwing it at Allison, who moves aside to avoid the hit., then she drops the gun and leaves the bar. Sydney takes the gun and gets out of the bar too, where Allison is running down the street, far away from Sydney, who shoots at the street.__  
__We see a black & white Sydney shooting outside the bar, someone is taking pictures._

_A picture of Sydney with a gun in her hand falls in a Vaughn's desk. Vaughn looks up, Weiss is beside him._

**WEIS:** This was in my desk. Now we know what Sydney was doing in Dijon.

**VAUGHN:** Don't let Kendall see them.

**WEIS:** I knew you'd say that. By the way, Lauren called, she says she's on her way back from Orleans.

_Vaughn is about to answer, but Sydney walks into the office._

**VAUGHN:** Don't let Kendall see those pictures.

_Vaughn stands up, and walks towards Sydney._

**VAUGHN:** Kendall wants to talk to you. I think this time is serious.

_Before Sydney could say anything, Sydney sees Kendall coming to them. Vaughn looks a side Weiss is calling him from his desk._

**VAUGHN:** Are you gonna be okay?

**SYDNEY:** Sure, go.

_Vaughn leaves Sydney as Kendall approaches her._

**KENDALL:** I was considering your return to the Agency, but after what you did…

**SYDNEY:** If you just let me explain…

**KENDALL:** This is unacceptable! You defied my authority. Not to mention you risked agent Vaughn's job.

_Sydney opens her mouth surprised._

**KENDALL:** Yes agent Bristow, I know you asked him to cover for you, there's no need to be a genius to figure that out. Now, what do you have to say here?

**SYDNEY:** As far as I know, the intel about the music box in Mexico is the only thing you've got on Sloane since my disappearance. I wanted to participate.

**KENDALL:** Is that why you went without permission to France? According to Dr. Barnett you went there because of a dream you had. So confirm this: You went to France, knowing you could be considered a fugitive considering the circumstances, based on a dream. And, as it was expected, you found nothing.

**SYDNEY:** I found something.

**KENDALL:** Which is?

**SYDNEY:** Vaughn said you didn't know where Allison is. She's alive. I saw her, in Dijon, waiting for me, which proves that dream is an actual memory.

**KENDALL:** You realize you could have been brainwashed, that that dream could have been induced to you.

_Sydney doesn't answer. For the first time she considers that possibility. Vaughn comes up to them._

**VAUGHN:** Your father just made contact.

**SYDNEY:** Wasn't he on his way here?

**VAUGHN:** He was, but he couldn't leave Italy, he's being held on the apartment he was hiding. We have an extraction team leaving in 30 minutes.

**SYDNEY:** I'm going.

**KENDALL:** Absolutely not.

**SYDNEY:** The last time I saw my father was before he was kidnapped two years ago. At first it just looked like it had just been two days ago, but the more I see how things have changed, the more I realize it's been two years. I'm going.

**KENDALL:** Agent Bristow, if you don't remain in this office until you father comes back, you can forget about having your job back.

**SYDNEY:** Admit it, since I disappeared, all CIA attempts to get Sloane, my mother or Sark have been a total waste, I was the one who helped CIA against Sloane and you know that, the proof is, that you still call me Agent Bristow.

_Sydney turns on her feet and leaves the Operation Center. Kendall tries to follow her but Vaughn stops him._

**VAUGHN:** Let her go. She could be useful, I mean, she's right: she's one of the best agents CIA has ever had, and she's back, we can't afford to loose her. Not now.

_Kendall seems to listen to Vaughn, takes a deep breath and goes back to work._

PIS**A**

_Panoramic view of Pisa, cut to an apartment building, Sydney is outside, on the back of the building. She's wearing a short, black wavy wig, a purple suit, a black shirt and, a long purple skirt, black boots and a purse._

**KENDALL:** voiceover Your father is in the 6th floor of an apartment building in Pisa. The apartment number is 604.

_Sydney looks up, there's one window opened on the 7th floor. Cut to an elevator inside the building, the elevator open. Sydney is inside.__  
__Sydney walks out of the elevator and walks through a hall. She stops in front of apartment 704. She speaks into her earpiece._

**SYDNEY:** I think the apartment above the one my dad's being held in is empty, I'm going in.

**VOICE:** voiceover Copy that.

_Cut to JTF, a hand with a ring on it takes Sydney's pictures from Vaughn's desk and puts them in a yellow envelope. Whoever stole the pictures, walks towards Kendall's desk and leaves the envelope there.__  
__Back in Pisa, Sydney walks into the apartment, she finds someone seems to be living there, she walks near the window. A blonde woman appears and strangles her from the back. Sydney struggles to free herself, she hits her in the stomach with the elbow, then kicks the woman, her wig falls to the floor, she gives another kick to the woman, who falls on a glass case, smashing it. Sydney looks at the woman, there was an ornamental arrow in the glass case, which is now on the woman's throat; the woman is death. Sydney stares at the woman's death body and starts kicking it furiously. Then she grabs a lamp and hits the woman's dead body with it, an end of the lamp hits a cabinet, smashing it. Inside she sees a riffle and grabs it. Sydney picks her purse from the floor and gets a rope out of it. Sydney takes off her suit and skirt. Underneath it she's wearing black leather pants.__  
__Sydney opens the window, she ties an end of the rope to her waist and the other end of the rope to the window, she gets out of the window with the riffle in her hand. On the building in front of her, someone is watching her with a pair of binoculars. She jumps off the window and shoots the window in the floor below, then she smashes the glass with a kick. She breaks into the apartment, some guards are in there, Sydney shoots killing them all. She unties the rope off her waist and looks around, there's a door on each side of the room she's at. It seems there's none there._

**SYDNEY:** Dad?

_Back at LA, Kendall sees the envelope. He picks it from his desk and opens it and sees Sydney's pictures inside.__  
__Back in Pisa, Sydney walks to the room at her right, she sees many computers and monitors. Suddenly, she hears a noise, she looks around, a black wrinkled man with a gun is at the door. Sydney prepares to shoot him, but the man yells at her._

**MAN:** Get down!

_Sydney gets down as the man shoots at Sydney's direction, Sydney looks back, a guard was behind her ready to kill her, but now the guard is death, the man in front of her saved her. Sydney looks up and stares at the black man._

**SYDNEY:** Dad?

**JACK:** I had to make sure none recognize me here.

_Sydney stands up and hugs her father. Suddenly, they both hear a gun loading. They turn around. It's Sark._

**SARK:** Well, well, well. Isn't this touching?

_Sydney and Jack look at each other, then at Sark. They have no way out._

THE END


End file.
